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Ding ware
Ding ware dish (pan) with impressed garden landscape decoration and metal-banded rim, Jin dynasty (13th century), diameter 14 cm. Los Angeles County Museum of Art.
BranchChinese ceramics
Years activeTang – Yuan dynasty (8th–14th century); peak during Northern Song
LocationQuyang County (ancient Dingzhou), Hebei, China
InfluencesXing ware
InfluencedJingdezhen white ware, Jiexiu ware (Shanxi), Korean white porcelain

Ding ware, Ting ware (Chinese: 定瓷; pinyin: Dìngcí) or Dingyao are Chinese ceramics, mostly porcelain, that were produced in the prefecture of Dingzhou (formerly romanized as "Ting-chou") in Hebei in northern China. The main kilns were at Jiancicun or Jianci in Quyang County. They were produced between the Tang and Yuan dynasties of imperial China, though their finest period was in the 11th century, under the Northern Song.[1] The kilns "were in almost constant operation from the early eighth until the mid-fourteenth century."[2]

The most characteristic wares are thin porcelains with a white or greyish body and a nearly transparent white-tinted glaze,[3] though they are classed as stoneware by some.[4] Chemical analysis has shown that they were often made entirely of a kaolinitic clay without any petuntse or "porcelain stone".[5] They are mostly decorated with uncoloured designs that are incised or in very shallow relief.

Ding ware was the most famous northern Chinese white ware under the Song, although there was increasing competition from the Qingbai ware from Jingdezhen in the south, which by the end of the Song had eclipsed Ding ware, achieving a predominance it has maintained in subsequent centuries. A key event in this process was the flight of the remaining Northern Song court to the south, after they lost control of the north in the disastrous Jin-Song wars of the 1120s. A new Southern Song court was based in Hangzhou.[6] This may have been accompanied by the movement of potters to Jingdezhen.[7]

Wares

[edit]
Song dynasty Ding porcelain bottle with iron pigment under a transparent ivory-toned glaze, c. 1100. Both the closed shape and the painted underglaze decoration are uncommon in Ding.
Bowl (wan) with peony, chrysanthemum, and prunus sprays, described by LACMA as "wheel-thrown stoneware with impressed decoration, transparent glaze, and banded metal rim", though others would call it porcelain. 12th century

Ding ware appeared to have begun by imitating Xing ware during the Tang dynasty, but by the Song dynasty, Ding kilns had replaced Xing as the pre-eminent producers of ceramics of northern China.[8] The white glaze of Ding ware was noted for a slight cream or ivory tint, apart from which it was transparent. Earlier, pre-Song, pieces had a blueish tint as (like Xing ware) they were fired with wood, producing a reducing atmosphere. A change to firing with coal, probably in the 10th century, produced the tint described as "ivory".[9]

Other "secondary" wares had monochrome glazes in different colours:[10] a very rare black, various shades of red and brown, gold and green.[11] These "are better known through literature than through surviving examples ... only the red and black are represented by entire pieces".[12] These may lack any other decoration. Song court taste valued plain wares decorated only by exquisite monochrome glazes in colours that were very difficult to achieve, such as the famous Ru ware, produced for only 40 years, and with surviving pieces totalling a two-figure number.[13] Another rare group is white with painted underglaze decoration in a brown derived from iron oxides.[14]

Pieces produced in Ding ware were mostly open vessels of a relatively small size, with shapes and decoration often borrowed from metalwork, as in the bowls with lobed rims. Vases are relatively uncommon.[15] Initially pieces were mostly thrown on the potter's wheel, often with templates, but in the late 11th century moulds began to be used, which included the inside decoration, previously carved or incised with a knife on the leather-hard piece. Any decoration on the outside of pieces continued to be hand-carved for some time.[16]

While the decoration was hand-carved, it was mostly scrolling plant-forms including lotus and peony, with some simple animals such as ducks and fish. These were "generally rather open and well spaced, executed with remarkable fluency and an apparently unfailing sense of compositional balance". Moulds allowed more complexity, including scenes with children, landscapes and other animals.[17]

The firing process was with bowls placed upside down in the kiln, which meant that the glaze had to be wiped from the rim, which left a rough rim, and many pieces were given a thin metal rim in silver or a "brassy alloy".[18] The Ding kilns developed stepped saggars, allowing several bowls, slightly reducing in size, to be fired in the same saggar, increasing the efficiency of kiln loading.[19]

Traditional East Asian thinking only classifies pottery into earthenware and porcelain, without the intermediate European class of stoneware, and the many local types of stoneware such as Ding ware were mostly classed as porcelain, though often not white and translucent. Terms such as "porcellaneous" or "near-porcelain" may be used in such cases.[20]

Fame and influence

[edit]
Ding ware ewer, "porcellanous ware", Jurchen Jin dynasty

The range and output of the wares was large, producing ceramics of high quality for the wealthy merchant class and the scholar-literati class, as well as tributary ceramics of the highest quality for the imperial court. A chronicle records that "the king went to pay his respects at the Zongde Dian and offered up 2,000 pieces of Ding ware decorated with gold",[21] but other records suggest that the rough rims and "teardrops" formed by running glaze meant that they were not considered fine enough for use by the emperor himself, or at least had become so regarded by the late Southern Song.[22]

Ding ware was later grouped as one of the Five Famous Kilns. It heavily influenced the early white wares of Jingdezhen, where the white porcelain preceding Qingbai ware is known as "Southern Ding", and Qingbai also shows considerable influence in its decoration.[23]

Ding production continued under the Jin dynasty (1115–1234), non-Chinese interlopers from Manchuria. Jin court taste was very different from the Song, favouring elegant plant-scroll designs, now mostly moulded, which were more intricate than those already produced under the Northern Song. There was renewed borrowing from T'ang decoration in silver, lacquer and stone, and from metalware shapes, such as lobed or notched rims to bowls and plates. The increased complexity in scrolling plant designs was significant for the history of Chinese pottery; these monochrome designs in very shallow relief formed the basis of the iconic vocabulary of later blue and white pottery, pioneered at Jingdezhen, and of immense influence globally.[24]

  • Rare black-glazed bowl, Northern Song, with copper rim.
    Rare black-glazed bowl, Northern Song, with copper rim.
  • Rare brown-glazed bowl, Northern Song, with notched rim.
    Rare brown-glazed bowl, Northern Song, with notched rim.
  • Dish with a Pair of Mandarin Ducks, moulded with impressed decoration and metal rim, diameter 5.5 in. (13.97 cm)
    Dish with a Pair of Mandarin Ducks, moulded with impressed decoration and metal rim, diameter 5.5 in. (13.97 cm)
  • Incense Burner (Lu) in the form of an ancient Ritual bronze container (Lian), height 4.5 in. (11.43 cm)
    Incense Burner (Lu) in the form of an ancient Ritual bronze container (Lian), height 4.5 in. (11.43 cm)

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ding ware

View on Grokipedia
from Grokipedia
Ding ware is a type of high-fired white produced primarily at kilns in Dingzhou (modern Quyang, Province), northern , developed from the late and peaking during the Northern (960–1127 CE), renowned for its fine, translucent body, thin walls, and ivory-white or slightly greenish glaze that exemplifies the aesthetic refinement of Song ceramics. One of the "five great wares" of the Song era, it was highly prized by emperors for its craftsmanship, often sent as imperial tribute and widely exported along trade routes like the . Early Ding ware featured incised or individually hand-carved decorations on elegant forms such as bowls, dishes, and bottles, showcasing motifs like lotus blossoms, peonies, and branches that symbolized purity and prosperity. By the late 11th to early , production shifted to molded designs for efficiency, allowing mass stacking in kilns and inverted firing techniques that left the mouth rim unglazed but increased output while maintaining lightweight elegance, though repeated mold use sometimes softened details. These innovations reflected the Song dynasty's advanced ceramic technology, positioning Ding ware as a pinnacle of non-imperial favored by wealthy elites for its subtle beauty and cultural symbolism.

History

Origins and Early Development

Ding ware emerged in the late , around the CE, at kilns situated in Jiancicun village, Quyang County, province, in northern , near the administrative center of ancient Dingzhou. Archaeological excavations conducted in the early at these sites revealed sherds from late Tang strata, confirming the initial production of white ceramics that served as precursors to later Ding ware. These early findings included basic vessels with simple glazing techniques, highlighting the foundational phase of the ware's development. The origins of Ding ware were closely linked to the contemporaneous Xing ware produced at nearby kilns in Neiqiu County, also in . Ding potters initially imitated 's white stoneware, utilizing similar kaolinitic clays to create high-fired bodies that achieved a pale, translucent quality without the addition of petuntse. This shared material base and stylistic influence from white ceramics allowed Ding ware to evolve from plain, undecorated forms focused on the purity of the clay and glaze, rather than elaborate motifs. Early Ding pieces, such as bowls and dishes, emphasized functional simplicity and a subtle tone, building on the technical advancements in clays seen in regional Tang productions. By the transition to the Northern (960–1127 CE), Ding ware production expanded significantly, benefiting from imperial patronage that elevated its status as a court-favored . Excavations at sites like Jiancicun and nearby Beizhen village have yielded evidence of this shift, with increased output of refined white porcelains that refined the basic glazing and forming techniques of the Tang period. This early Song phase laid the groundwork for Ding ware's reputation, as potters adapted local resources to produce wares that balanced aesthetic restraint with technical innovation.

Peak Production and Decline

Ding ware achieved its zenith during the in the (960–1127), when production scaled to meet demands from the imperial court and elite consumers, establishing it as one of the Five Great Kilns alongside Ru, Jun, Guan, and Ge. The kilns at Quyang in province produced refined white porcelains in large quantities, with high-alumina clay bodies reflecting advanced craftsmanship and . From as early as 980 CE, Ding wares were regularly sent as to the Song court, underscoring their prestige and integration into official rituals. Production persisted into the Jin dynasty (1115–1234) following the Jurchen conquest, with kilns resuming operations after a brief hiatus of about 30 years post-invasion. Under Jin rule, early examples retained Northern Song techniques using dolomite flux, while late Jin pieces (after 1161 CE) featured richer, more diverse impressed motifs, such as floral and aquatic patterns, amid economic adaptations like flux-free recipes and stacked firing. These changes reflected a blend of inherited traditions and practical responses to resource constraints, though overall quality regressed compared to the Song peak. The decline accelerated after the Jin-Song wars of the 1120s, which devastated the northern kilns through and displacement of the court southward in 1127. Following the 1127 , many skilled potters fled southward to sites like , contributing to the development of southern white porcelains such as Qingbai. Output dwindled in the late Jin due to exhausted high-quality clay deposits and regional unrest, leading to coarser bodies with elevated iron and impurities. By the (1271–1368), production was minimal and eventually ceased, overshadowed by competition from southern Qingbai wares.

Production

Kilns and Materials

The primary sites for Ding ware production were located in Quyang County, Province, with major concentrations at Jianci Village and Beizhen Village, where archaeological excavations have uncovered numerous structures and production remains. These sites, spanning from the through the Jin dynasty, have yielded evidence of extensive manufacturing activities, including bases, waster piles, and over 15,000 porcelain fragments in some areas, indicating large-scale operations. The body of Ding ware was primarily composed of high-kaolin clays sourced locally from the Quyang region, blended with fluxes to achieve without the use of petuntse ( stone), distinguishing it from southern Chinese porcelains. Early examples incorporated calcareous fluxes, such as or dolomite, to lower the firing temperature and promote translucency in the white body. By the and Jin dynasties, potassic fluxes, likely derived from feldspathic materials, became predominant, as revealed by energy-dispersive (ED-XRF) analyses of sherds, which show shifts in (K₂O) and (CaO) concentrations. Ding ware glazes were formulated from siliceous flux-rich materials, including high-silica clays and possibly , applied in thin layers to ensure transparency and a subtle creamy tone over the white body. Chemical studies indicate these glazes contained elevated levels of silica (SiO₂) and alumina (Al₂O₃), with fluxes like magnesia-lime compounds contributing to their durability and luster during high-temperature firing. To protect the thinly applied glazes from direct flame contact and achieve the characteristic white body, potters at the Ding kilns employed saggars— clay boxes that enclosed ware during firing, allowing for efficient stacking and uniform heat exposure. This technique, combined with occasional inverted placement of vessels, maximized glaze coverage on bases while minimizing defects.

Techniques and Firing

Ding ware vessels were primarily formed using traditional wheel-throwing techniques on a , allowing potters to achieve remarkably thin bodies, often with walls as fine as 0.5–1 mm in high-quality Northern Song examples, which contributed to the ware's lightweight elegance. For pieces requiring intricate relief decoration, such as impressed floral motifs on , molding was employed using fine-grained clay molds to press the body into shape before drying and glazing. These methods relied on kaolinitic clays that vitrified well at high temperatures, enabling the production of translucent, sturdy forms like open vessels. A distinctive in Ding ware production was the inverted firing technique, where open forms such as and dishes were placed mouth-down in to conserve expensive glaze by leaving the exteriors partially unglazed. This method involved stacking pieces rim-downwards on ring-shaped setters or stepped saggars, preventing during firing and leaving characteristic unglazed "fire marks" or rough patches on the bases and lower exteriors. To address the unglazed rims resulting from this placement, finished pieces were often fitted with thin metal bands, typically , post-firing to protect and enhance their appearance. Firing occurred in coal-burning , a shift from around the that introduced an oxidizing atmosphere and produced the signature ivory-tinted glaze tones. Temperatures reached approximately 1300°C for 4–6 hours within a total cycle of about 100 hours, ensuring complete of the high-alumina clay bodies without firing—glaze was applied directly to leather-hard ware for a single high-temperature firing. Saggars, often made from clays with over 39% Al₂O₃, were stacked in batches within these , facilitating high-volume production of thousands of pieces per firing through efficient multi-tiered loading. While most Ding ware featured or monochrome glazes derived from magnesia-lime recipes, rarer variants employed iron-rich slips applied before glazing to yield or brown tones under reducing conditions, and copper-based slips for subtle hues in experimental pieces. These monochrome techniques were less common than the standard ware but demonstrated the potters' versatility in color manipulation during the and Jin periods.

Characteristics and Types

Forms and Shapes

Ding ware is renowned for its diverse array of vessel forms, which emphasize elegance and functionality, particularly in open shapes suited for daily and ceremonial use. Predominant among these are shallow, wide-mouthed bowls, dishes, cups, and plates, often designed for ceremonies and reflecting the dynasty's refined aesthetic preferences. These open forms typically feature thin walls and precise profiles, with rims that could be plain, lobed, or scalloped to mimic floral motifs like or patterns. For instance, conical shallow bowls and saucers with angled sides were common, showcasing the potters' skill in achieving delicate, lightweight structures. Closed forms, though less prevalent than open ones, include jars, bottles, and ewers, with notable examples such as meiping (plum vases) intended for floral arrangements. These vessels often exhibit ovoid or double-gourd bodies, providing stability for holding liquids or flowers, and were produced in smaller quantities to complement the kiln's focus on . Ewers, in particular, featured spouts and handles for pouring, evolving from simpler Tang prototypes to more ornate designs. Jars and bottles, like truncated or pear-shaped variants, served storage purposes and were occasionally moulded for efficiency in the . Many Ding ware forms drew inspiration from contemporary metalwork, particularly and silver prototypes, resulting in shapes like stem cups, censers, and ewers with elegant, flowing contours. Stem cups, elevated on high feet, echoed ritual vessels, while censers mimicked burners from earlier dynasties, adapting metallic angularity to porcelain's fragility. This influence is evident in the sharply profiled rims and lobed edges of dishes and bowls, which replicated the hammered effects of silverware. The size range of Ding ware vessels spans from small handheld cups, typically under 10 cm in , to larger basins reaching up to 30 cm, all characterized by thin walls that highlight the material's translucency and delicacy. This variation allowed for both intimate personal items and communal serving pieces, with larger forms like wide dishes underscoring the ware's versatility. Inverted firing techniques occasionally left unglazed or roughened rims on these vessels, a practical to achieve even glaze distribution on the body. Over time, Ding ware forms evolved from the simple, unadorned bowls of the early (618–907), which imitated ware's basic profiles, to more varied and sophisticated designs during the (960–1279) and Jin (1115–1234) periods. By the Northern Song, potters introduced handles, spouts, and complex lobing, expanding beyond basic open forms to include specialized items like pillows and cosmetic boxes. This progression reflected advancements in moulding and firing, enabling greater diversity while maintaining the ware's hallmark thinness and precision.

Decoration and Glaze

Ding ware is distinguished by its thin, transparent glaze, which ranges from ivory-white to pale grey and is applied over a fine white body to create a smooth, nearly translucent surface finish. The glaze often develops a warm tone due to the oxygen-rich, coal-fired kiln atmosphere, enhancing its jade-like luster. In later examples from the , the glaze frequently exhibits fine crackling, adding a subtle texture to the surface. The primary glaze varieties include bai Ding (pure white), prized for its clarity and even application; fen Ding (flour-like), with a slightly opaque, powdery quality; and tu Ding (earthen), featuring warmer cream or yellowish tones. Rare colored glazes were also produced, such as black (hei Ding) and green variants, achieved by applying iron-rich slips before the primary white glaze. During the Jin period, potters experimented with gold leaf (tiejin) decoration, affixing thin sheets or powder mixed with adhesive to the glazed surface and refiring at lower temperatures (600–800°C) for a luxurious effect, though such pieces remain scarce. Decoration was typically applied to the unfired body before glazing, employing techniques like incising (often an hua for hidden, low-relief patterns), molding by pressing clay over carved forms, impressing with stamps, or shallow carving. Motifs favored floral designs such as lotus and , avian figures like phoenixes, and geometric patterns, all rendered in subtle, uncolored relief to harmonize with the glaze. These elegant, restrained aesthetics aligned with Song literati preferences for understated refinement over bold enameling. The unglazed foot-rims, a result of upside-down firing to maximize space, often bear small spur marks from support points, which were sometimes masked with copper or silver bands in finished pieces. This combination of translucent body and delicate surface treatments underscores the ware's reputation for purity and sophistication.

Cultural and Artistic Significance

Fame in

Ding ware achieved enduring prestige in Chinese ceramic history, recognized as one of the Five Great Wares—alongside Ru, Jun, Guan, and Ge—due to its exceptional quality and aesthetic refinement during the (960–1279). This classification, noted by 14th-century connoisseur Cao Zhao in his manual Ge Gu Yao Lun (1387), underscores its status among the era's most celebrated , with production centered in Quyang County, Province. The ware's imperial significance was profound, as it was supplied to the Song court through annual tributes, serving as official porcelain for royal use. Particularly favored in the Northern Song period (960–1127), Ding ware excelled in tea vessels, aligning with the era's sophisticated connoisseurship of tea culture, where its fine white porcelain enhanced the visual and tactile experience of brewing and drinking. Among the elite, Ding ware captivated literati and merchants, who collected it avidly for its symbolic elegance. Praised in poetry and connoisseur writings for being "white as snow" and "lustrous as ," it evoked comparisons to precious materials like or mutton-fat , embodying purity and subtle beauty that resonated with scholarly ideals of refinement. In the vibrant of the Northern , particularly in bustling centers like , Ding ware symbolized cultural sophistication and social status, adorning tea houses and private gatherings of the educated class. Its value persisted into the , where it remained prized by officials and the court, reflecting continuity in elite tastes amid political shifts. Archaeological discoveries further affirm its widespread domestic prestige, with significant hoards unearthed from elite tombs, such as the Lu family cemetery at Wulitou in Shaanxi Province, dated to the Northern Song, where white-glazed Ding pieces outnumbered other ceramics, indicating their prominence in high-status burials. Similar finds in Jin-period sites highlight ongoing elite veneration.

Influence and Legacy

Ding ware exerted a significant influence on subsequent Chinese ceramic traditions, particularly in the development of white porcelains at . In the 12th century, early Qingbai wares produced at kilns in southern imitated the fine white bodies and translucent glazes of northern Ding porcelains, adapting these techniques to local materials like kaolin and petuntse. This innovation laid the groundwork for the evolution of Qingbai into the renowned blue-and-white porcelains of the Yuan and Ming dynasties, which became a hallmark of Chinese ceramics. During the , Ding ware saw limited exports along the , primarily as tribute items or through maritime trade routes, reaching and the in modest quantities compared to southern celadons. These exchanges inspired white ware traditions in neighboring regions; for instance, Goryeo dynasty (918–1392) celadons in Korea incorporated Ding's incised motifs and ivory-toned glazes, blending them with local green glazes to create hybrid forms. In the , efforts to revive Ding ware techniques emerged at the original Quyang kilns in province, driven by cultural preservation initiatives amid post-1949 archaeological excavations that uncovered kiln sites and shards. Today, authentic pieces form cornerstone holdings in major museums, including over 50 examples in the British Museum's Percival David Collection and extensive displays at the Palace Museum in , underscoring their role in global ceramic historiography. Recent scientific analyses have deepened understanding of Ding ware production through strontium isotope and studies. For example, examinations of samples from the Jianci site reveal shifts in raw materials: early phases (1127–1160) used dolomite fluxes with 87Sr/86Sr ratios of 0.71600–0.72388, while later phases (1161–1219) relied more on local clays, indicated by higher concentrations (ΣREE 163.00–224.27 ppm). These findings confirm phased adaptations in material sourcing and firing recipes across production eras. Ding ware's enduring global recognition ties into broader Chinese ceramic heritage, with its firing techniques inscribed as national in 2008, contributing to 's recognition of related traditions like . Authentic pieces command premium prices at auctions; another sold for USD 2.2 million at in 2013, reflecting their rarity and artistic prestige.

References

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